Baroque Week. Patron: Trevor Pinnock CBE Artistic Director: Theresa Caudle

The tutors

For 2025, we’re pleased to welcome as tutors: Theresa Caudle (Artistic Director), Clare Beesley, Zoë Cartlidge, Daniel Collins, Satoko Doi-Luck, Jacob Garside, Robert Howarth, Rebecca Miles and Lynda Sayce; and Alice Poppleton returns as tutor/administrator, sharing her time between tutoring and assisting our Course Administrator, Jill Caudle.  Judith Kleinman is visiting to give a workshop on Thursday afternoon.

Baroque Week has an unusually high tutor–student ratio amongst early music summer courses. We could have as many as twenty chamber music groups in a session, and each group can still receive tuition for at least half the session.  The tutors also combine to give a concert at the course on Wednesday evening.

Theresa Caudle’s career started on the cornett as a teenager, when she became leader of The London Cornett and Sackbut Ensemble. She subsequently became increasingly active as a baroque violinist, playing with many of the leading period-instrument ensembles in England, such as The English Concert, The English Baroque Soloists and The Brandenburg Consort. One of her main commitments has been to The Parley of Instruments, of which she was a principal member for twenty-five years and with which she made over fifty recordings. She directs her own ensemble, Canzona, and frequently directs several other ensembles here and abroad, including The Croatian Baroque Ensemble, Linden Baroque and Salisbury Baroque. She is leader of The Hanover Band in baroque repertoire and also leads Orpheus Britannicus, resident ensemble at Trinity Hall College, Cambridge. Theresa is a member of The Monteverdi String Band as well as playing regularly with The London Handel Orchestra and The Sixteen.  Her rare skill at combining cornett and violin playing is demonstrated on her solo CD of 17th century Italian sonatas, Violino o Cornetto on the Nimbus Alliance label. After many years as a tutor at Baroque Week Theresa became Artistic Director in 2016.  She also organises several other very successful baroque courses at Benslow and Jackdaws.  In 2020 she formed Burghclere Baroque, an organisation promoting workshops and concerts where she lives in North Hampshire.   www.burghclerebaroque.com/theresa.html

Clare Beesley  specializes in performance on historical flutes from Renaissance to Romantic periods. In an orchestral setting, Clare frequently performs with Concerto Amsterdam, Accademia Amsterdam, La Sonora and the Alexander Consort (The Netherlands), and with Orchestra Le Chardon (Germany). In recent years she has enjoyed performing with Barokksolistene (Norway), Il Pomo d’Oro (Italy), Amsterdam Baroque Orchestra, and as a soloist with Combattimento (The Netherlands).  Clare directs the flute consort Catch As Catch Can, performing widely throughout Europe. Alongside lutentist and vilhuelist Punto Bawono, Clare performs music from the Renaissance, Baroque and Classical periods, and explores repertoire for flute and strings with the Beesley Quartet. Clare's PhD dissertation at Utrecht University examines the opportunities and obstacles for 18th century women in becoming professional virtuose through a case study of the flautist and glass armonica player, Marianne Davies. She has presented her research at several conferences, and was awarded the Michael Burden Award for Musicology by the British Society for Eighteenth Century Studies in 2023. Her work was recently published by the Croatian Musicological Society, The Journal of Eighteenth-Century Music, and documented in BBC Radio 3's Early Music News.  www.clarebeesley.info

Zoë Cartlidge was introduced to the baroque oboe whilst studying modern oboe at the Guildhall School in London, and quickly fell in love with the beautiful sound and feel of the instrument. She had many performance opportunities at the Guildhall on both instruments, from solo and concertante parts with the Guildhall Baroque Orchestra under Pavlo Beznosiuk, to orchestral roles with the London Symphony Orchestra under Simon Rattle.  Zoë is passionate about teaching, running a private practice from home in Devon, and freelances around the UK and other European countries, playing regularly with groups such as Canzona, the Istante Collective, the Hanse Band and the Opéra de Baugé Festival Orchestra. She first attended Baroque Week as a Bursary Student in 2015, returned each year as an Assistant Tutor, and was appointed a full tutor in 2021.  When she is not playing music, Zoë likes to go walking, taking part in actions protesting social and climate issues, and — her most recent hobby — beekeeping.

“I feel very fortunate to receive coaching from such an expert team of tutors.  Their dedication to achieving

high standards gives us strong motivation to perform to the best of our ability. Theresa provides excellent

leadership throughout the course.  All the tutors provide the highest standard of advice.”

Rebecca Miles studied recorder and baroque violin at Trinity College of Music, and in 1987 made her London debut at the Wigmore Hall as winner of the Moeck Medal for solo recorder. She has performed and recorded well over one hundred discs with almost all of the leading London period instrument orchestras, appearing throughout Europe, as well as South America, Japan, Hong Kong and Australia. As an obbligato recorder player and violinist she has worked with orchestras including The English Concert, The Sixteen, The Academy of Ancient Music, Collegium Musicum 90, Canzona and The Gabrieli Consort. Most recently she performed in the critically acclaimed orchestra Arcangelo's performances at Glyndebourne and with ENO at The Young Vic. Having recorded concertos with The King’s Consort, The Orchestra of The Age of Enlightenment, the Hanover Band and The Brandenburg Consort, she has also recorded solo recorder for film and television. A former Professor of Recorder at Trinity College of Music, she now teaches at Winchester College as well as giving lecture recitals, master classes and examining at the UK Conservatoires.

“The course exceeded my expectations - tuition and conducting so good, and everyone so nice”

Alice Poppleton (Tutor/Adminstrator) is a freelance violinist and viola player with an early music specialism. Having received distinctions from both The Royal Welsh College of Music and Drama and The Royal Academy of Music, Alice is now enjoying a varied career, performing, touring and recording with many leading period ensembles such as: Gabrieli Consort and Players, English Concert, Canzona, The Orchestra of the Age of Enlightenment, La Nuova Musica and Hanover Band. Alice is also passionate about community music. In 2020, Alice founded and is now the Director of Thinking Music (shortlisted for the Music and Drama Education Awards 2024), a charity that connects rural primary schools and universities to make music together. Thinking Music is currently based at Bristol University where Alice delivers lectures in community music. Alice is delighted when these threads combine: inclusive chamber music projects for Brighton Early Music Festival, The Wigmore Hall and Brecon Baroque Festival and orchestrally with The Orchestra of the Age of Enlightenment. Alice loves the rich tapestry of creative projects in her working life.

Lynda Sayce is one of Europe’s leading lutenists with over 100 recordings to her name;  in her latest venture, Sounds Historical, she also plays the viol and flute. Lynda read Music at St Hugh’s College, Oxford, then studied lute with Jakob Lindberg at the Royal College of Music. She performs regularly as soloist and continuo player with leading period instrument ensembles worldwide, and is principal lutenist with La Serenissima, The King’s Consort and Ex Cathedra. She directs the lute ensemble Chordophony, whose repertory and instrumentarium are based entirely on her research. Lynda has also performed with many leading modern instrument orchestras and opera companies, and was chosen by Sir Simon Rattle to play lute continuo for the Berlin Philharmonic Orchestra’s epic staging of Bach’s St Matthew Passion, performed in Europe and the US. Her discography ranges from some of the earliest surviving lute music to the jazz theorbo part in Harvey Brough’s ‘Requiem in Blue’ and the latest album from Russian folk rock legend Boris Grebenchshikov. She holds a Ph.D for her research on the theorbo, teaches lute and continuo at Birmingham University, and has published widely. www.theorbo.com

Robert Howarth read music at the University of York and is fast establishing a enviable reputation as director from the harpsichord and conductor of early and classical repertoire. He has led a number of programmes with the Orchestra of the Age of Enlightenment such as Messiah in Spain and Moscow; Monteverdi Vespers 1610 (recorded for OAE Released), The Glory of Venice – Gabrieli and contemporaries - and Bach Lutheran Masses. He regularly co-directs La Serenissima, most recently for Vivaldi’s Ottone in Villa, and he is Director of Music at The University Church, Oxford. Robert has conducted Messiah with The Hallé Orchestra, Danish Radio Symphony Ochestra, Bilbao Symphony Orchestra, Real Filharmonia de Galicia, the Irish Baroque Orchestra, Bournemouth Symphony Orchestra and the Royal Seville Symphony Orchestra; St Matthew Passion with the RTE National Symphony Orchestra; Mozart, Haydn and Rameau with The English Concert; Monteverdi and Rossi with the Early Opera Company; Bach and Handel with the English Chamber Orchestra; Bach Cantatas with the Salzburg Mozarteum Orchestra and Athalia for the Ambronay Festival. Other projects include Charpentier Actéon and Purcell King Arthur for the Dartington International Summer School.  Robert was also Music Director for Claire van Kampen’s play Farinelli and the King in London and New York. As a harpsichordist Robert has performed concertos with The Orchestra of the Age of the Enlightenment and The Avison Ensemble, as well as numerous solo and lecture recitals across the UK. With Steven Devine he is Co-Principal Keyboard Player at the OAE, as well as having played with many of the main UK and European Early Music Ensembles. He will gladly bore you stiff talking about tuning and temperament.

Satoko Doi-Luck takes pleasure in a diverse career as a historical keyboardist and a composer. Satoko regularly gives solo recitals as well as enjoys playing with orchestras, and has performed with Birmingham Opera Company, La Serenissima, the Shakespeare's Globe and the Orchestra of the Age of Enlightenment, with whom she has recently performed Bach’s Harpsichord Concerto on tour with Rachel Podger. Satoko was the Junior Fellow in Harpsichord/Continuo at the Royal College of Music, and also a participant of the Handel House Talent Scheme 2015-2016. ​As a keen chamber musician, Satoko is a founding member of Ensemble Molière and Ceruleo.  Ensemble Molière was a finalist in the York International Young Artists Competition 2017, and performs throughout Europe and in the UK. They are especially passionate about bringing French baroque repertoire to wider audiences in the UK. BBC Radio 3, the National Centre for Early Music (NCEM) and the Royal College of Music (RCM) appointed Ensemble Molière as their first New Generation Baroque Ensemble from October 2021 for two years. With Ceruleo, Satoko toured Burying the Dead - an original concert-play about the life and music of Henry Purcell - to various festivals in the UK including Buxton.  www.satokodoi-luck.com

Daniel Collins is a countertenor and conductor. He was a chorister at Christ Church, Oxford, and gained a music scholarship to Charterhouse School in Surrey, where he attained Grade 8 in organ, piano and violin.  He was then awarded a choral and academic scholarship to Magdalen College, Oxford. After obtaining a first-class honours degree in Music, he studied vocal performance at The Royal College of Music. Since 2006 he has been singing with many of the world’s top choral and instrumental ensembles, including Tenebrae, The Gabrieli Consort, The Orchestra of the Age of Enlightenment, and The Sixteen, with whom he has been singing regularly since 2008. Recently he has performed as a soloist in venues including the Sistine Chapel, Wigmore Hall, Barbican theatre, and the Wien Konzerthaus. Alongside his work with The Sixteen, he was a member of the choir at the church of All Saints, Margaret Street for over 15 years. As a conductor, Daniel has founded his own concert series in North London, his own amateur chamber choirs in Naples, Lichfield, and in London, and has directed choirs, both professional and amateur, across London (including recently conducting The Sixteen in concert). In 2021, Daniel formed the Peregrine Orchestra, a chamber orchestra based in London, and also founded Live@StMark's (soon to become the Peregrine recital series), a concert series aimed at supporting emerging artists and ensembles by giving them paid performance opportunities and experience. He has held Director of Music posts at St. Barnabas, Dulwich and St. Mark's, Hamilton Terrace.

Jacob Garside is a freelance cellist and viola da gamba player, based in London. He attended the Royal Academy of Music studying baroque cello and viol with Jonathan Manson, and the Royal College of Music studying viol with Richard Boothby and Reiko Ichise, supported by the Enlightenment and Hill Scholarships respectively. He is currently studying viola da gamba with Robert Smith on the Konzertexamen course at Hochschule für Musik und Tanz, Köln.  He has played orchestrally for St James Baroque, La Nuova Musica, Academy of Ancient Music, Instruments of Time and Truth, Oxford Bach Soloists, Gabrieli Consort, Royal Northern Sinfonia and Det Norske Blåseensemble. He is a regular player for English Touring Opera and The Orchestra of the Age of Enlightenment Education Orchestra.  A keen chamber musician, he has played for Rachel Podger’s Brecon Baroque, Spiritato, Opera Settecento, Endelienta Baroque and the viol consorts Fretwork, Newes Vialles and London Viols. In 2020, Jacob was a founding member of The Hampstead Collective, where their monthly concert series is in the midst of its fourth year. He is playing, acting, singing and dancing in the Manchester International Festival’s opera The Faggots and their Friends: Between Revolutions on their worldwide tour including Aix-en-Provence, New York, Paris, Bregenz and Amsterdam.

Judith Kleinman AGSM, MSTAT, HonARAM (visiting tutor) is one of the Alexander team at the Royal College of Music and trains Alexander teachers at The London Centre for Alexander Teacher Training. Judith was a musician for many years and wanted to share the benefits she found for her playing and wellbeing in the Alexander Technique, so trained to be an Alexander teacher, qualifying in 1988. Judith also writes about the work and has co written “The Alexander Technique for Musicians” with her husband Peter Buckoke and recently published her new book, “Finding Quiet Strength” exploring ancient wisdom and modern neuroscience for promoting our emotional intelligence and embodied awareness. www.findingquietstrength.com

Thursday’s workshop is:  An approach to finding quiet strength in our lives, practice and performance, working with the Alexander Technique for musicians.  In the workshop we will experiment with some practical information on thinking, anatomy, movement, touch and breath. We will work with ideas of how to balance our energy in work, rest and play. There will be some wellbeing practices to take away, working on how to be as calm, confident and coordinated as we can in life, practice and on stage.